Spasm: Virtual Reality, Android Music and Electric Flesh by Arthur Kroker

By Arthur Kroker

Spasm is the Nineteen Nineties. A theory-fiction in regards to the crash international of digital fact, from the chilly intercourse of Madonna Mutant, the natural intercourse of Michael Jackson and the useless intercourse of Elvis to the technological fetishes of Silicon Valley. Written from the views of cultural politics, song, images, cinema and cyber-machine art,Spasm explores the ecstasy and fadeout of stressed out tradition. the following, we unexpectedly locate ourselves the population of a glittering, yet vaguely menacing, technological galaxy the place the machines ultimately start to speak.

Spasm is a book/CD to take in addition to you in your hacker trip of the digital frontier.

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Extra info for Spasm: Virtual Reality, Android Music and Electric Flesh

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A prosthetic world where sound appears only in the form of aural trompe l’oeils: virtual volume, velocity, pitch, and rhythm. An auditory space of illusion that is inscribed as the dominant locus of our social space. Not panoptic space (there is no longer a stable eye of surveillance), nor representational space (virtual sound is already beyond the governing episteme of the model versus the real), and not even simulation (today even the model is cybernetically generated), but an autonomous space of illusion.

Organs without Bodies Spasm is a libidinal descent into this sea of liquid ,media populated by organs without bodies, a world of robo-theory, machine sex, virtual reality, electronic TV fibrillation, surveillance scanning, and recombinant culture where our bodies migrate daily, and especially nightly, to be processed 41 , and re-sequenced. A seductive descent of the body ‘where the flesh flips open, and out fly all the previously hidden codes of human genetic history on their way to a fateful meeting with recombinant technology.

So then, the virtual body, and the virtual nose with it, as the first of the great olfactory ‘rebellions against the radical severance of sight from smell. After all, olfactory chips that can be secreted onto the eyeball like invisible smell lenses have a great evolutionary advantage. They finally link the vertical invader of smell with the topographical sovereignty of sight, crossing forever the metonymy of the spectral gaze and the materiality of smell. And the old modernist nose? That is left on the virtual face as an ironic reminder of a failed twist of bodily evolution.

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